628 research outputs found
Gay Side Story Scrapbook
No full textScrapbook containing photographs and ephemera from original 1983 production of Gay Side Story.
The full playbill can be seen here.https://digitalcommons.usm.maine.edu/gay_side_story/1001/thumbnail.jp
Gay Side Story Playbill
No full text1983 Playbill for Gay Side Story with forward by John Frank
WRITTEN BY
Avis
Diane Elze
Rico Estabrook
John Frank
Dale McCormick
Tony Norton
Cheryl Ring
Chris Thurston
WITH SPECIAL THANKS TO
Leonard Bernstein
Arthur Lawrence
Stephen Sondheim
Phil Spectorhttps://digitalcommons.usm.maine.edu/gay_side_story/1002/thumbnail.jp
LG MS 160 Dale McCormick Gay Side Story Interview
No full textDescription:
Collection includes two copies of an oral history interview (one edited) and an automatically generated transcript.
In the edited version of the interview, Dale McCormick recalls her role as producer of Gay Side Story, an adaptation of the musical West Side Story, with Diane Elze, Miles J. Rightmire, Cheryl Ring, and others. The play was performed for two nights in Luther Bonney Hall at University of Southern Maine during the 10th Maine Lesbian & Gaymen\u27s Symposium in May 1983. McCormick discusses her work on the writing team, the set design, and the positive reception of the production during a time when, in McCormick\u27s words, we were a feared and hated minority.
Megan MacGregor, instruction and outreach librarian at University of Southern Maine, in Portland, Maine, conducted an oral history interview with Dale McCormick, in Augusta, Maine, on March 23, 2023, using Zoom to preserve her memories of the creation and performance of Gay Side Story at the 1983 Maine Lesbian & Gaymen\u27s Symposium held on the Portland campus of the University of Southern Maine. The interview was prompted by a program hosted by the LGBTQ+ Collection and funded by an grant from the University\u27s Intercultural and Diversity Advisory Council (IDAC) to play the film of the 1983 musical for University students and staff in Robie-Andrews Hall on the same date. Date Range:
2023-03-23 Size of Collection:
958 Megabyte
Sexuality, Identity and the Clothed Male Body
No full text‘Sexuality, Identity and the Clothed Male Body’ is a PhD by Published Work that draws together a collective body of work that deals specifically and significantly with the dressed male body. This thesis presents a case for the collection of publications included in the submission to be viewed as a coherent body of work which makes a contribution to knowledge in the fields of fashion studies and cultural studies, in which the works are situated. The body of work consists of two monographs - Don We Now Our Gay Apparel: Gay Men’s Dress in the Twentieth Century (Berg, 2000), and The Story of Men’s Underwear (Parkstone International Press, 2010) - and two chapters in edited books - ‘Butch Queens in Macho Drag: Gay Men, Dress and Subcultural Identity’ (2008) and ‘Hair and Male (Homo)Sexuality: Up-Top and Down Below’ (2008).
Through an examination of the major themes addressed throughout the submitted body of work – sexuality, identity, subcultural formation, men’s dress and masculinities and clothes and the body - this thesis demonstrates that the published work contributes to knowledge through its two major foci. Firstly, the means by which gay men have utilised their dressed bodies as a situated and embodying practice to articulate identity, masculinity, and social and sexual interaction, and secondly an examination of men’s underwear’s specific function in the covering, exposing and representation of men’s bodies. These were, until recently, relatively neglected areas of fashion studies and dress history, and by explicitly bringing together these areas to present a comprehensive investigation this thesis serves to provide a new contribution to knowledge in these areas. Taking an interdisciplinary approach, that is common in both fashion studies and cultural studies, the specific combination of research methods that is employed throughout the body of work, has provided a unifying element that further enhances this contribution to knowledge
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Mary Franklin Collection, Copy of Gay Pride Dallas newspaper story "300 Commemorate Stonewall"
No full textA copy of the Gay Pride Dallas newspaper story "300 Commemorate Stonewall." The section of the article copied discusses a commemoration of the 15th anniversary of the police raids on the Stonewall bar in New York City. Photographs of protesters holding hands are displayed on the front page of the copy. The text "Gay Pride Dallas 1984" is on the top right side of the copy
Mary Franklin Collection, Copy of Gay Pride Dallas newspaper story "300 Commemorate Stonewall"
No full textA copy of the Gay Pride Dallas newspaper story "300 Commemorate Stonewall." The section of the article copied discusses a commemoration of the 15th anniversary of the police raids on the Stonewall bar in New York City. Photographs of protesters holding hands are displayed on the front page of the copy. The text "Gay Pride Dallas 1984" is on the top right side of the copy
Open destinies : modern American women and the short story cycle
No full textThis thesis examines the juncture between the short story cycle form and gender politics. It explores how twentieth-century women from the United States have been using the form to represent and question gender identity. The introduction outlines commentaries on the story cycle and considers definitions of the form. It includes case studies of earlier twentieth-century cycles by American women: cycles such as Mary McCarthy's The Company She Keeps that have been passed over by critics of the form.
Chapter One presents Eudora Welty's The Golden Apples as a cycle paradigm, examining conventions such as the form's metafictional dimension and its preoccupation with communal identity. Chapter Two argues that Grace Paley's scattered Faith narratives set a standard for more dispersed versions of the form. Chapter Three considers how Joyce Carol Oates uses the sequential cycle to represent gender identity as a social construct. Chapters Four and Five examine the macrocosmic cycles of Gloria Naylor and Louise Erdrich and consider changes in their form and gender politics. The final 'composite' chapters explore postmodern versions of the form such as Susan Minot's Monkeys. The prose works of Sandra Cisneros stretch across the story cycle continuum, whilst Toni Morrison's Paradise is universally regarded as a novel. Readings of contemporary cycles by Melissa Bank, Elissa Schappell and Emily Carter demonstrate that American women are re-invigorating the form to facilitate the plural identity of the postmodern heroine
My Elvis Blackout and Neverland: Truth, Fiction and Celebrity in the Postmodernist Heterobiographical Composite Novel
No full textA PhD by publication comprising two of my books, My Elvis Blackout and Neverland, accompanied by a reflective and critical exegesis, which examines notions of truth, fiction and celebrity in the composite novel through a broadly analytical and practice-based methodology. The exegesis begins by exploring the links between the methodology of the fine artist and the new creative writer. It then demonstrates that My Elvis Blackout and Neverland represent an original contribution to knowledge in the way that they explore and develop literary form (the ‘composite’ novel), and, in their exploration of celebrity, myth-making and fictional hagiography, and that the two books function as performative critiques which probe the boundaries between fiction and the fabricated reality of celebrity culture. My exegesis analyses Linda Boldrini’s term ‘heterobiography’ (2012) with particular reference to Michael Ondaatje’s The Collected Works of Billy The Kid (1981), which as a bricolage relies upon the reader’s pre-conceived recognition of the historicity of its protagonist and continually tests the boundaries between fact and fiction. In this section of the exegesis, I propose that what sets My Elvis Blackout and Neverland apart from Billy The Kid is that whilst Ondaatje’s book certainly does exploit the confusions between fact, fiction, autobiography and history, it remains firmly set within the timeframe that its historical protagonist inhabits. My Elvis Blackout and Neverland remain grounded within their readers’ expectations of American settings contemporary to their nominative protagonists, but both books also feature dilations in both historical and geographical setting. Through analysis I have come to perceive ‘the celebrity persona’ as an identikit image assembled by thousands of witnesses. A photo fit photomontage tiered with impressions of subjective provenance, each layered transparency filtered through the fears and desires of fans and critics. Whereas other historiographic metafictions use historical figures as singular characters, My Elvis Blackout and Neverland can be seen to be utilising an ‘identikit’ concept to present their respective protagonists as manyheaded Hydras, or multiple probability ‘versions’ from parallel universes. By a conflation of terms, Hutcheon’s ‘historiographic metafiction’ (1988) and Boldrini’s ‘heterobiography’ (2012), My Elvis Blackout and Neverland are in fact historiobiographic metafictions. The exegesis concludes by establishing my own works’ live impact on the overarching celebrity metanarratives, and their inevitable organic status
Political life writing in the Pacific
No full textThis book aims to reflect on the experiential side of writing political lives in the Pacific region. The collection touches on aspects of the life writing art that are particularly pertinent to political figures: public perception and ideology; identifying important political successes and policy initiatives; grappling with issues like corruption and age-old political science questions about leadership and ‘dirty hands’. These are general themes but they take on a particular significance in the Pacific context and so the contributions explore these themes in relation to patterns of colonisation and the memory of independence; issues elliptically captured by terms like ‘culture’ and ‘tradition’; the nature of ‘self’ presented in Pacific life writing; and the tendency for many of these texts to be written by ‘outsiders’, or at least the increasingly contested nature of what that term means
Way out in Colorado a family bright and gay
No full textvoiceReel 301 Side #1 No. 10
Collected by Joe Moore
For M.C. Parler
Transcribed by Linda Humphrey
Sung by Betty Davis Westfork, Ark. December 29, 1964
Little Marian Parker
Way out in Colorado A family bright and gay Were planning on their Christmas Not very far away.
They had a little daughter,
A sweet and pretty child,
And everyone who knew her Loved Marian Parker's smile.
She went to school one morning,
Not very far away,
And no one dreamed of the danger That came to her that day.
There was a murderous villain,
His heart was made of stone,
He took little Marian Parker Away from friends and home.
The world in solemn lay sleeping Til they found her cold and dead, They caught the cowardly murderer, Young Hickman was his name.Little Marian Parker -continued
They brought him back to judgement His final trial to stand.
There is a great commandment
Thou shall not kill
And those who do not heed it,
Their cup of sorrow fill.
This song is meant as a warning To care and far and near,
You cannot guard too closely The ones you love so dear.
(Betty Davis heard this from her mother before she was school age, around 1919. It is based on a true story.)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
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